Kim Hiorth?y

Kim Hiorthoy是如此典型的北歐文藝人，著裝簡(jiǎn)單，不聲不響，卻無(wú)時(shí)不刻地創(chuàng)造并擴(kuò)大屬于自己的疆域:平面設(shè)計(jì)、插畫、攝影與錄像藝術(shù)、寫作、音樂(lè)。。。 他在眾多的領(lǐng)域都建樹頗豐，據(jù)說(shuō)同一天里可能“他的畫展正在倫敦舉行，錄像藝術(shù)作品正在卑爾根展出，而他則在柏林現(xiàn)場(chǎng)演出”。
 
Kim的音樂(lè)王國(guó)同他的視覺(jué)世界一樣獨(dú)樹一幟、趣致、簡(jiǎn)單，有學(xué)院派氣質(zhì)，評(píng)論家說(shuō):Kim擁有一種“hi-fi與lo-fi，記錄性與表演性，簡(jiǎn)單天真與復(fù)雜構(gòu)造”之間的對(duì)比。輕快多變的俱樂(lè)部舞曲節(jié)奏中，融入紀(jì)錄片式的錄音采樣(人群、夢(mèng)囈、嚎叫等等)和悅耳的抓人的旋律片段，這讓他的不少音樂(lè)帶有一種敘述性，所以有人把他和Four Tet等電音民謠藝人歸作一類，還有人因他的怪趣和原創(chuàng)性，把他比作北歐版的Aphex Twin。在他的音樂(lè)里，耳朵和腳底板都不得不“聚精會(huì)神”，絕非許多淪為“背景音樂(lè)”的lounge舞曲可比。
 
要知道Kim早在 2000年出版首張唱片之前，已蜚聲歐洲前衛(wèi)視覺(jué)藝術(shù)界，更作為北歐兩大獨(dú)立音樂(lè)廠牌Rune Grammofon和Smalltown Supersound的御用封套設(shè)計(jì)師，得到諸多樂(lè)迷的擁戴。Kim的音樂(lè)成就是現(xiàn)代科技讓藝術(shù)家如虎添翼的例證。
 
by K. Ross Hoffman
Norway's Kim Hiorthøy is a multi-faceted artist whose work has included painting, illustration, graphic design, film, photography, and writing in addition his music, which is primarily electronic-based. In any given field of creative endeavor, and certainly in his musical explorations, he tends to defy conventions and rigid definitions, taking an unstudied and deliberately amateurish approach with typically curious and sometimes whimsical results. Born in 1973, he studied at the Academy of Fine Art in his native Trondheim, where he began experimenting with both graphic art (publishing 'zines and designing record covers) and sound recording (at first in the school's studio, then investing in his own sampling equipment.) His work in both audio and visual fields progressed more or less in tandem. As he furthered his fine art education with stints of studying in New York City and Copenhagen, he carried on dabbling in these and other areas (adding film to his résumé with several videos for the band Motorpsycho), eventually settling down in Oslo but continuing to participate in national and international gallery shows. In the musical arena, he is most closely associated with two highly respected Norwegian record labels: Rune Grammofon, for whom he has designed all of the album artwork, and Smalltown Supersound, which has released essentially all of his recorded output (as well as a fair number of his album designs.) Save for a self-pressed CD, Fake, which was included with his Book Without Function, a limited-edition art book from 1996, his first true foray into record-making came with a 7& on Smalltown in 2000. Hei, his well-received full-length debut, emerged that same year, swiftly followed by the odds-and-ends compilation Melke. 2004 brought a disparate trio of small-scale releases; the mellow IDM of the Hopeness EP, the &acoustic noise music& of For the Ladies, consisting of unmodified field recordings arranged without any actual &musical& material, and Live Shet, a mini-album focusing on the more straight-ahead, beat-driven electronica that Hiorthøy had been featuring in his live sets. My Last Day, released in 2007, was a full-fledged album of predictably unpredictable electronic music that drew on elements of most of his earlier work. In 2009 he announced the completion of a new recording project with a band called Drivan, a collaboration with three dancers-turned-singers from Sweden and Finland.